→▲国外学历文凭证书在线制作▼←Q/微506914451【私人定制】#加拿大亚岗昆学院#毕业证成绩单#wse认证 #留信认证 #留服认证 #教育部认证 #中留服  AlgonQuin

#加拿大亚岗昆学院#毕业证成绩单#wse认证 #留信认证 #留服认证 #教育部认证 #中留服  AlgonQuin

Swan Spirit music, created for one stunning Swan Person. 🦢🤍

In the very end, I'm singing Nibi Wabo - the Water Song from the Algonquin people. This song was written by Irene Wawatie Jerome for Grandfather William Commanda's 2002 Circle of All Nations gathering. 

"It expresses loving gratitude for the water and raises the consciousness and connection of women with Mother Nature’s greatest gift. The song is easy to learn, and our hope is that millions of women will sing it, raising their own connection and awareness of the water they interact with daily even in the shower or at the sink. Sing it 4 times, facing each of the 4 Directions. We believe this is a powerful step to change, leading to both a spiritual as well as environmental shift on our planet."
~Sing the Water Song

“We sing this song like a lullaby. The song means the water is the Life's Blood of our Mother the Earth. Water is the Life's Blood of our own Bodies.”
~ Grandma Nancy

🌿💦

Composition and performance: Kat Poreba
Recorder: Rodrigo Barata

Homerecording Joy.

Swan Spirit

Silence to Silence, in tribute to R. Murray Schafer, music by Carol Ann Weaver, with text by Rae Crossman, was world-premiered by Inshallah Choir, Debbie Lou Ludolph, conductor, Nov. 26,2024 in Waterloo, Ontario, Canada.  The piece was composed in Algonquin in 2021, shortly after the death of R. Murray Schafer, beloved Canadian composer/soundscape originator/author/environmentalist, who died earlier in 2021.  The work evokes a day in the (Algonquin) wilderness, with loons, water, and rarely heard wolves.  All natural recordings are by CAWeaver from Algonquin.  Text for Silence to Silence by Rae Crossman below: 

silence to silence
mist
        mist
mist
morning mist
rising 
over the lake
mist threads twisting
drifting
                   hanging
forming and unforming
veiling and unveiling
vagaries of wind-ripple on water
then 
            all traces disappear
ribbons of dawn cloud
strands of rose and gold 
last of the lingering stars
light lancing through spruce and pine
full flood of sky fire
marvel the blazing
marvel the amazing
marvel the sun
wave-lap against granite 
nuthatch chant and reply
wing beat thrum of geese flying low
rhythms stir rhythms 

the deer leaves her story in tracks along the river
the bear claws his story on the trunk of the tree
the snake sheds her story in the grass
stories prompt stories
blackbirds burst and whirl from reeds
dragonflies hover and dart above lily pad ponds
goldenrod and asters sway in the wind

movement inspires movement
songs and stories and dances all around
follow enchantment into the wild
follow the wild into enchantment
follow the wild
ribbons of sunset cloud
strands of purple and gold 
first of the returning stars
silhouette of spruce and pine
final flare of sky fire
marvel the lustrous
marvel the mysterious
marvel the moon
silence to silence

(photo: CAWeaver, 2021, Algonquin, Canada)

Silence to Silence

Algonquin December'24 is a soundscape I created December 7, 8, 2024, based on my field recordings while hiking wilderness trails of Algonquin Provincial Park, Dec 2-7, 2024.  As shown in my photo, a thick cover of snow and cold prevailed with few birds active.  We would sometimes walk for hours without a single bird or animal. But other times Ravens and Hairy Woodpeckers prevail (heard here) along with a yet-unfrozen stream and a rushing waterfall which winter cannot subdue.

Algonquin December'24

Nicole O’Byrne speaks with Leila Inksetter about her book, Cultural Change among the Algonquin in the Nineteenth Century.

The nineteenth century was a time of disruption for the Algonquin people as they encountered fur traders, missionaries, settlers, and other outside forces. Despite this, they retained some control over the changes they faced, adapting where possible to serve their own interests.

Cultural Change among the Algonquin in the Nineteenth Century explores the history of settler-Indigenous interactions around the Ontario-Quebec border, focusing on the period after colonial incursion but before the Indian Act of 1876. The study compares two regions: Lake Timiskaming, where commercial logging began in the 1830s, and Lake Abitibi, which saw less outside contact until the early 20th century. Using archival and ethnographic sources, Leila Inksetter examines the changes in governance, the introduction of elected chiefs, food provisioning, environmental shifts, and the blending of Indigenous spirituality with Catholicism.

Inksetter argues that the Algonquin response to cultural change was not just an imposition but a dynamic, self-directed process. She calls for greater recognition of Algonquin agency and decision-making during this time, before the full effects of the Indian Act were felt.

Leila Inksetter is professor in the Department of History at the Université du Québec à Montréal.

Image Credit: McGill-Queen’s University Press

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Cultural Change among the Algonquin in the Nineteenth Century

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World music and Voice of the Earth.


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